欧宝娱乐

“Every lover is, in his heart, a madman, and, in his head, a minstrel.”
― Neil Gaiman, Stardust

“I once knew of a minstrel who bragged of having had a thousand women, one time each. He would never know what I knew, that to have one woman a thousand times, and each time find in her a different delight, is far better. I knew now what gleamed in the eyes of old couples when they stared at each other across a room...My familiarity with her was a more potent love elixir than any potion sold by a hedge-witch in the market.”
― Robin Hobb, Fool's Assassin

“Perhaps you'd hire on as Cleftlocke's minstrel."
"I'd rather be sung about than sing."
"I doubt you've got the voice for it anyway.”
― Nicole Sager, Cleftlocke

“Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and ma卯tre de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody鈥檚 fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the d茅class茅s, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the 鈥榡ournalist of the age鈥�, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the 鈥楬ildebrandslied鈥�, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the 鈥楥hanson de Roland鈥� never fails to reveal this popular minstrel taste for the piquant.”
― Arnold Hauser, The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages

“If there were no such creatures as minstrel-maidens, it would be necessary to invent them.”
― Jack Vance, The Dragon Masters

“...out of the counterfeiting of the black American's identity [in blackface minstrelsy] there arises a profound doubt in the white man's mind as to the authenticity of his own image of himself. He, after all, went into the business when he refused the king's shilling and revolted. He had put on a mask of his own, as it were...For the ex-colonials, the declaration of an American identity meant the assumption of a mask, and it imposed not only the discipline of national self-consciousness, it gave Americans an ironic awareness of the joke that always lies between appearance and reality, between the discontinuity of social tradition and that sense of the past which clings to the mind. And perhaps even an awareness of the joke that society is man's creation, not God's. Americans began their revolt from the English fatherland when they dumped the tea into Boston Harbor, masked as Indians, and the mobility of the society created in this limitless space has encouraged the use of the mask for good and evil ever since.”
― Ralph Ellison, Shadow and Act

“Now it may be that the poet will use a new medium of communication, the phonograph record, and Bob Dylan may well be the man that established the medium as a place for the poet.”
― Daniel Kramer, Bob Dylan